[00:00.000] 作词 : Silverstoat
[00:01.000] 作曲 : Silverstoat
[00:02.000] 编曲 : Silverstoat
[01:44.795]Since then,I've often looked back and asked:
[01:47.784]What was going on with me?
[01:50.394]What was all this peculiar energy?
[01:53.951]My conclusion has been that just at that point in my life,
[01:57.775]I'd become engaged in an urgent act of preservation.
[02:03.218]To explain this,I'll need to go back a little.
[02:48.816]I'd come to realise that with each year I grew older,
[02:52.573]this Japan of mine，
[02:54.808]this precious place I'd grown up with
[02:57.326]was getting fainter and faniter.
[02:59.966]That in any case,
[03:02.275]the Japan that existed in my head
[03:04.499]might always have been an emotional construct
[03:07.742]put together by a child out of memory,imagination and speculation.
[03:21.552]I'm now sure that it was this feeling,
[03:24.616]that 'my' Japan was unique and at the same time terribly fragile
[03:29.688]something not open to verification from outside,
[03:33.257]that drove me on to work in that small room in Norfolk.
[03:38.035]What I was doing was getting down on paper that world's special colours,
[03:43.215]mores, etiquettes, its dignity, its shortcomings,
[03:47.926]everything I'd ever thought about the place,
[03:51.268]before they faded forever from my mind.
[03:54.767]It was my wish to re-build my Japan in fiction,
[03:58.869]to make it safe,
[04:01.634]so that I could thereafter point to a book and say:
[04:04.948]'Yes, there's my Japan, inside there.'

作词 : Silverstoat
作曲 : Silverstoat
编曲 : Silverstoat
Since then,I've often looked back and asked:
What was going on with me?
What was all this peculiar energy?
My conclusion has been that just at that point in my life,
I'd become engaged in an urgent act of preservation.
To explain this,I'll need to go back a little.
I'd come to realise that with each year I grew older,
this Japan of mine，
this precious place I'd grown up with
was getting fainter and faniter.
That in any case,
the Japan that existed in my head
might always have been an emotional construct
put together by a child out of memory,imagination and speculation.
I'm now sure that it was this feeling,
that 'my' Japan was unique and at the same time terribly fragile
something not open to verification from outside,
that drove me on to work in that small room in Norfolk.
What I was doing was getting down on paper that world's special colours,
mores, etiquettes, its dignity, its shortcomings,
everything I'd ever thought about the place,
before they faded forever from my mind.
It was my wish to re-build my Japan in fiction,
to make it safe,
so that I could thereafter point to a book and say:
'Yes, there's my Japan, inside there.'